HISTORY OF ART

MOVEMENT
CAVE ART
 Also known as parietal art – refers to all man-made images on the walls, ceilings or
floors of a cave or rock shelter
 Considered as the world’s first known and least understood work of art
 The primary reason behind these paintings remains obscure.
 There is difficulty of access of these paintings, as well as difficulty in interpretation
 This prehistoric cave art is believed to have been performed by modern man (Homo
sapiens sapiens)
 The distribution of cave art on every continent is very uneven due party to the influence
of three factors, namely: geological environment, climate, and local cultural traditions
 Cave art embraces five different types of art:
1. Hand prints and finger marks – sometimes called “finger-fluting” which is
commonly seen on soft clay walls that is usually consists of lines left by fingers
2. Abstract signs – oldest known cave painting
3. Figurative painting – involves the application of color pigments on the walls, floors,
or ceilings of ancient rock shelters
4. Rock engraving – also known as “petroglyphs” which denotes prehistoric man-made
markings on natural stone done by removing the surface of the rock by engraving
5. Relief sculpture – a form of cave art which is dependent on a supporting surface,
usually a plane surface in order to be visible
 Generally, hand prints and abstract symbols are the most common form of cave art which
is seen in most caves, while relief sculpture is the least common.
 Most famous cave paintings include: Chauvet cave paintings, Altamira cave painting, El
Castillo cave painting, Lascaux cave paintings, etc.
 These cave paintings are significant because they give us ideas how intelligent and
cultural the inhabitants of the caves were. Those people who created and performed cave
paintings left us evidences of their activities and their way of life.
EGYPTIAN ART
 According to Encyclopaedia Britannica  EARLY DYNASTIC: The Rock Art from the
(2018), Egyptian art and architecture, the predynastic period establishes this value which
ancient architectural monuments, sculptures, is fully developed and realized in the early
paintings, and decorative crafts produced dynastic period of Egypt (c. 3150 - c. 2613
mainly during the dynastic periods of the first BCE).
three millennia BCE in the Nile valley regions
of Egypt and Nubia.  Art from this period reaches its height in the
work known as The Narmer Palette (c. 3200-
 Artistic achievement in both architecture and 3000 BCE) which was created to celebrate the
representational art aimed at the preservation unity of Upper and Lower Egypt under
of forms and conventions that were held to King Narmer (c. 3150 BCE).
reflect the perfection of the world at
the primordial moment of creation and to  This technique would be used quite effectively
embody the correct relationship between toward the end of the Early Dynastic Period by
humankind, the king, and the pantheon of the the architect Imhotep (c. 2667-2600 BCE) in
gods. designing the pyramid complex of
King Djoser (c. 2670 BCE).
 The Nile afforded a stability of life in which
arts and crafts readily flourished. Only good  OLD KINGDOM: This skill would develop
wood was lacking, and the need for it led the during the Old Kingdom of Egypt (c. 2613-
Egyptians to undertake foreign expeditions to 2181 BCE) when a strong central government
Lebanon, to Somalia, and, through and economic prosperity combined to allow
intermediaries, to tropical Africa. for monumental works.

 PREDYNASTIC: Images of animals, human  Tomb paintings became increasingly

beings, and supernatural figures inscribed on sophisticated but statuary remained static for
rock walls. These early images were crude in the most part.
comparison to later developments but still
express an important value  Art during the Old Kingdom was state
of Egyptian cultural consciousness: balance. mandated which means the king or a high-
ranking nobility commissioned a piece and
 Egyptian society was based on the concept of also dictated its style.
harmony known as MA'AT which had come
into being at the dawn of creation and  FIRST INTERMEDIATE: Has long been
sustained the universe. characterized as a time of chaos and darkness
and artwork from this era has been used to
 All Egyptian art is based on perfect balance substantiate such claims.
because it reflects the ideal world of the gods.
The same way these gods provided all good  The First Intermediate Period of Egypt was a
gifts for humanity, so the artwork was time of tremendous growth and cultural
imagined and created to provide a use. change.

 Egyptian art was always first and foremost  Shabti dolls were important funerary objects
functional. This function was a reminder of the which were buried with the deceased and were
eternal nature of life and the value of personal thought to come to life in the next world and
and communal stability. tend to one's responsibilities.
GREEK ART
Ancient Greek Art is famously known for its
grandeur and powerful art pieces which has been held Greek Pottery
up as the yardstick by which later art is judged. It Greek pottery, particularly in terms of
stands out for its natural, realistic but idealized decoration, evolved over the centuries and may be
depictions of the human body. These can be seen categorized into three broad groups:
through their sculptures in which largely nude male  Geometric Pottery – favoured the
figures were generally the focus of innovation. Greek rectangular space on the main boody of the
art gave a distinct idea of perfection which influenced vase between the handles. The decorations
the art of the succeeding generations. The practice of also invloves different geometric shapes
fine art in ancient Greece evolved in three periods: and patterns.
 Black-figure Pottery – figures were painted
 ARCHAIC PERIOD (c. 650-480 BCE) – black as ceratin clour.
period of experimentation influenced by  Red-figure Pottery – the shapes of red-
Mesopotamian art. figure vessels are generally those of the
 CLASSICAL PERIOD (c. 480-32 BCE) – black-figure style. An exception is the kylix
period of flowering of mainland Greek which becomes shallower and with a
power and artistic domination. shorter foot, almost becoming a third
 HELLENISTIC PERIOD (c.323-27 BCE) – handle. In addition, the painted narrative is
period which opened with the death of to be read by turning thr cup in the hand.
Alexander the Great, witnessed the creation
of “Greek Style Art” throughout the region, Greek Architecture
as more and more centres/colonies of Greek Greek architects provided some of the finest
culture were established in Greek controlled and most distinctive building in the entire Ancient
lands. The period also saw the decline and World and some of their structures, such as temples,
fall of Greece and rise of Rome. It ends with theatres and stadia, would become staple features of
the complete Roman conquest of the entire towns and cities from antiquity onwards. In addition,
Mediterranean basin. the greek concern with simplicity, proportion,
perspective and harmony in their buldings would go
Characteristics of Greek Art: on to greatly influence architects in the Roman world
 Flowering of an aesthetic idealism that seeks and provide the foundation for the classical
to represent and idyllic vision of beauty architectural orders which would dominate the
 Representation of proportionality and Western world from the Renaissance to the present
balance in the works of art that contribute to day.
highlight the concept of aesthetic perfetion.
 It is not of pratical and realistic character, Greek Sculpture
bute decorative. Seeking the joy of the The sculpture of ancient Greece from 800
spirit. to 300 BCE took early inspiration from Egyptian and
 Concern to represent an ideal vision of the Near Eastern monumental art, and over centuries
beauty of the human body. evolved into a uniquely Greek vision of the art form.
 Representation of nature and the Greek artists would reach a peak of artistic
surrounding world with an idealized and excellence which captured the human form in a way
sweetened of this. never before seen and which was much copied. Greek
 Greek art is not looking for been an sculptors were particularly concerned with
instrument of propaganda, only as an proportion, poise, and the idealised perfection of the
aesthetic pleasure vehicle. human body, and their figures in stone and bronze
 The rationally of mathematics measures have become some of the most recognisable pices of
used to represent the ideal proportion in the art ever producede by any civilization.
words of art.
ROMAN ART
 Ancient Roman art is a very broad topic,
spanning almost 1,000 years and three  Roman portrait sculptures can be divided
continents, from Europe into Africa and Asia. into statues and relief sculptures. The Greek
The first Roman art can be dated back to 509 influence is strongly felt in Roman statues,
B.C.E., with the legendary founding of the and, in fact, many Roman statues and
Roman Republic, and lasted until 330 C.E. sculptures are copies or interpretations of
Greek sculptures. However, many Roman
 Roman art includes architecture, painting, sculptures are characterized by their realism.
sculpture and mosaic work. Luxury objects in Greek statues tend to idealize the human form.
metal-work, gem engraving, ivory carvings, Roman sculptors, on the other hand, presented
and glass, are sometimes considered in modern realistic representations of their subjects with
terms to be minor forms of Roman art. all their flaws.

 Roman relief sculptures were works of art

 Roman art is not just the art of the emperors,
carved on stone or on the side of buildings.
senators, and aristocracy, but of all the peoples
The size of the relief was dependent on the
of Rome's vast empire, including middle-class
location and purpose for which it was
businessmen, freedmen, slaves, and soldiers in
intended. The relief sculpture was a collection
Italy and the provinces.
of figures used to represent a sequence of
events.
 Roman art was powerfully influenced by the
Greek art. It is also true that many Romans
 The main innovation of Roman painting
commissioned versions of famous Greek
compared to Greek art was the development of
works from earlier centuries; this is why we
landscapes, in particular incorporating
often have marble versions of lost Greek
techniques of perspective, though true
bronzes such as the Doryphoros by
mathematical perspective developed 1,515
Polykleitos.
years later. Surface textures, shading, and
coloration are well applied but scale and
 However, there were variations between the spatial depth was still not rendered accurately.
two arts and Roman art had small changes Some landscapes were pure scenes of nature,
made them. The variations could be made with particularly gardens with flowers and trees,
humor and such. Roman artists were not while others were architectural vistas depicting
simply copying. They were adapting in a urban buildings.
conscious and brilliant way. It is precisely this
ability to adapt, convert, combine elements and
 Roman still life subjects are often placed in
add a touch of humor that makes Roman art
illusionistic niches or shelves and depict a
Roman.
variety of everyday objects including fruit, live
and dead animals, seafood, and shells.
 Roman painting was influenced by the Examples of the theme of the glass jar filled
architecture of that time. The Roman buildings with water were skillfully painted and later
have s small number of doors and windows served as models for the same subject often
leaving a large amount of wall space. So by painted during the Renaissance and Baroque
this, paintings were developed to enhance the periods.
walls and make it comfortable dwelling. The
primary colors used in Roman painting were
 In Greece and Rome, wall painting was not
deep red, yellow, green, violet and black.
considered as high art. The most prestigious
form of art besides sculpture was panel
 Most of this wall painting was done using the painting, tempera or encaustic painting on
secco (dry) method, but some fresco paintings wooden panels. Unfortunately, since wood is a
also existed in Roman times. Roman painting perishable material, only a very few examples
provides a wide variety of themes: animals, of such paintings have survived, namely the
still life, scenes from everyday life, portraits, SeveranTondo from circa 200 AD.
and some mythological subjects.
MEDIEVAL ART
In the history of Europe, theMiddle Ages lasted - introduction and absorption of classical
from the 5th to the 15th century. The medieval art Mediterranean and Early Christian forms
of the Western world covers a vast scope of time with Germanic ones
and place, over 1000 years of art in Europe, and at - architecture and monumental sculpture
times the Middle East and North Africa.

CLASSIFICATION:

 Early Christian Art  Romanesque art

- between 260 and 525 - 1000 AD to the rise of the Gothic style in
- used the same artistic media as the pagan the 12th century
culture (ex. fresco, mosaics, sculpture, and - retained many basic features of Roman
manuscript illumination) architectural style
- adapted Roman artistic motifs and gave - colors were very striking and mostly
new meanings to pagan symbols (peacock, primary (ex. Stained Glass)
grapevines, and the "Good Shepherd") - first major movement of Medieval art

 Migration Period Art

 Gothic art
- aka Barbarian Art
- developed in Northern France out of
- 300 to 900 Romanesque art in the 12th century AD
- the Migration art of the Germanic tribes in - stone structures, large expanses of glass,
Europe clustered columns, sharply pointed spires,
- polychrome style and the animal style intricate sculptures, ribbed vaults, and
flying buttresses
 Byzantine Period
- 4th - 15th century CE
FAMOUS MEDIEVAL ARTISTS
- more abstract and universal
 Donatello - David, Mary Magdalene,
- two-dimensional representations Madonna, Salome, Zuccone, St. Mark, St.
- used precious metals John the Evangelist and St. George and
the Dragon
 Insular art  Giotto di Bondone - Noli me Tangere,
- 600-900 The Last Supper and Madonna and Child
- originated from Celtic Christianity  Fra Angelico - Annunciation, The
Madonna and Saints and
- characterized by an interest in abstraction
the Transfiguration of Christ painting
- three-dimensional space and perspective  Lorenzo Ghiberti - East Doors of the
Baptistery of San Giovanni; founder of
 Pre-Romanesque the Renaissance, an intellectual movement
- 500 CE to the beginning of the 11th  Filippo Brunelleschi - used clear
century geometry and symmetry in his work and
often used the simplest materials
CHINESE ART • Ming Dynasty Art (1368-1644)

Characteristics of Chinese Art • Art under the Manchus and the Qing
Dynasty (1644-1911)
- Metaphysical (Daoist Aspect)
- Moral (Confucian Aspect) • 20th Century Chinese Art
- Inspirational But Not Essentially •
Religious
- Inner Essence Not Outer Appearance
- Symbolism in Chinese Visual Art
- The Impact of the Amateur Artist

History of Chinese Art

• Bronze Age Art During the Shang Contemporary Art in China
Dynasty (1600-1050 BCE)
• Zhou Dynasty Iron Age Art (1050-221
BCE)
• Daoism (Taoism)
• Qin Emperor and 3-year Dynasty (221-
206 BCE)
• Han Dynasty Art (206 BCE - 220 CE)
• Han Painting and Printing Chinese

• Buddhism and Anarchy

• Buddhist Sculpture
• Tang Dynasty Art (618-906)
• Developments in Tang Painting
• Tang Pottery and Porcelain
• Song Dynasty Art (960-1279)
• Song Painting Monochromatic
Landscape
• Song Pottery
• Yuan Dynasty Art (1271-1368)
 Chinese Porcelain
UKIYO-E (Japanese Art)

 “pictures of the floating world”

 The combination of uki (sadness) and yo

(life), the word ukiyo-e originally reflected
the Buddhist concept of life as a transitory
illusion, involving a cycle of birth, suffering,
death, and rebirth. Ironically, during the
early Edo period, another ideograph which
meant "to float," similarly pronounced
as uki, came into usage, and the term
became associated with wafting on life's
worldly pleasures.
 Refers to Japanese paintings and woodblock
prints that originally depicted the cities’
pleasure districts during the Edo period.

 Edo Period (1603-1868)

During the Edo period, called such because
Japan's capital had been moved to Tokyo
(then called Edo), the country was under
rule by the Tokugawa shogunate. This
military regime emphasized a hierarchal
class system: warriors at the top, followed
by farmers, craftsmen, and then merchants at stories that had a deep connection to
the bottom. Theatres, teahouses, and Japanese culture.
brothels were licensed and which came to be
known as the "pleasure districts." It was a
relatively peaceful time domestically and  Subject
isolationist in relationship to the rest of the People and environments in which the
world. As a result, art that reflected this higher classes emerged themselves became
decidedly Japanese lifestyle found a new the popularsubjects for ukiyo-e works.
audience with a rising middle class. Ukiyo- Ukiyo-e prints were often depicted on
e was born as an evolution of yamato-e, one Japanese screens or scrolls. The pictures
in which the new lifestyle was emphasized were weaved by a common look and feel.
and celebrated.
 Artists and Influences
 Precedents: Yamato-e Some of the greatest Japanese artists of their
Yamato-e emphasized the depiction of time—Ando Hiroshige, Katsushika
everyday details and people, as well as Hokusai, Utagawa Toyokuni III, and Keisai
 Eisen among them—became known European artists around this time—its
primarily as woodblock print designers in flattened perspective and innovative
the Ukiyo-e style. In the 19th century, compositions inspired artists such as Mary
Ukiyo-e printmakers also began to focus on Cassatt, Vincent Van Gogh, and Henri de
landscape, creating series such as Hokusai’s Toulouse-Lautrec, as well as
famed Thirty-Six Views of Mount Fuji. the Japonisme movement in art and design.
Ukiyo-e also had a profound impact on
RENAISSANCE PERIOD
 Renaissance literally means “rebirth”
 It was a break from the old traditions
 Uplift the desire to discover their own potentials
 Flourishing of the arts during this period was the money flowed to support the artists
 Italian merchants use their money to purchase art and to commission artists to create
paintings to decorate their homes
 Common themes:
i. Self-glorification – attempt to capture the uniqueness of individuals and
immortalize it
ii. Religion – it depicted the Blessed Virgin Mary, stories from the Bible, and Jesus
Christ
 Paintings of portraits of important individuals became common
 Light and shade began to be used that added drama to paintings
 Perspective created the impression of depth and distance that made the painting ever
more lifelike and three dimensional
 Artists also began to use oil in painting to experiment the various techniques
 Renaissance artists created their works of art as an expression of their individuality rather
than the dictates of society
 Prominent artists in Renaissance period
1) Donatello (Donato di Niccolo, Italian, 1386-1466) – Revive the classical style as
could be seen from his bronze statue of the young David.
2) Giotto di Bondone (Italian, 1267-1337) – made Florence as the first great art
center of Renaissance. He was famous for his frescoes on St. Francis of Assisi.
3) Leonardo da Vinci (Italian, 1457-1519) – The Mona Lisa, the Last Supper, and
the Virgin of the Rocks.
4) Michelangelo Buonarroti (Italian, 1475-1564) – focused on human figure
depicted as magnificent, proud, and powerful. Creation of Adam, The Flood, God
Dividing the Light from Darkness, Last Judgement, and Pieta.
5) Raphael Sanzio (Italian, 1483-1520) – best known for his painting of the Sistine
Madonna.
6) Sandro Botticelli (Italian, 1444-1510) – The Allegory of Spring and the Birth of
Venus.
MANNERISM
Mannerism, from maniera, “manner,” or sometimes totally irrational mix of classical motifs
“style”, artistic style that predominated in Italy and other visual references to the antique, and
from the end of the High Renaissance in the 1520s inventive and grotesque pictorial fantasies.
to the beginnings of the Baroque style around
1590. The Mannerist style originated in Florence The sophisticated Mannerism that
and Rome and spread to northern Italy and, developed in Rome before 1527 became the chief
ultimately, to much of central and northern formative influence on the styles of a number of
Europe. The term was first used around the end of younger Italian painters who were active during
the 18th century by the Italian the 1530s, ’40s, and ’50s. Among them
archaeologist Luigi Lanzi to define 16th-century were Giorgio Vasari, Daniele da
artists who were the followers of major Volterra, Francesco
Renaissance masters. Salviati, DomenicoBeccafumi, Federico
Zuccari, Pellegrino Tibaldi, and most
Mannerism originated as a reaction to the notably Bronzino, who was the pupil of Pontormo
harmonious classicism and the idealized and who became the most important Mannerist
naturalism of High Renaissance art as practiced by painter in Florence at this time.
Leonardo, Michelangelo, and Raphael in the first
two decades of the 16th century. In the portrayal of Mannerism retained a high level of
the human nude, the standards of formal international popularity until the paintings
complexity had been set by Michelangelo, and the of AnnibaleCarracciand of Caravaggio around
norm of idealized beauty by Raphael. But in the 1600 brought the problematic style to an end and
work of these artists’ Mannerist successors, ushered in the long ascendancy of the Baroque.
an obsession with style and technique in Mannerism was for long afterward looked down
figural composition often outweighed the upon as a decadent and anarchic style that simply
importance and meaning of the subject matter. The marked a degeneration of High Renaissance
highest value was instead placed upon the artistic production.
apparently effortless solution of intricate artistic
problems, such as the portrayal of the nude in
complex and artificial poses.
The figures in Mannerist works frequently Mannerism: Important Points
have graceful but queerly elongated limbs, small
heads, and stylized facial features, while their  Mannerism refers to the style of painting,
poses seem difficult or contrived. The deep, linear sculpture, and architecture, which
perspectival space of High Renaissance painting is emerged in Rome and Florence during the
flattened and obscured so that the figures appear as late years of the High Renaissance.
a decorative arrangement of forms in front of a flat
background of indeterminate dimensions.  It is a style extracted from the influence of
Mannerists sought a continuous refinement of form the great renaissance artists like
and concept, pushing exaggeration and contrast Michelangelo, Raphael, and Leonardo da
to great limits. The results included strange and Vinci.
constricting spatial relationships,
jarring juxtapositions of intense and unnatural
colours, an emphasis on abnormalities of scale, a
  The characteristics of mannerism style are
(1) exaggerated forms, (2) presence of  Mannerists took their inspiration from the
humour, and (3) lavish decoration. natural world, usually nudes.

BAROQUE PERIOD
The Baroque is a period of artistic style that  Easel Art - a glossy form of genre-painting -
started around 1600 in Rome, Italy, and spread throughout aimed at the prosperous bourgeois householder.
the majority of Europe during the 17th and 18th centuries.
In informal usage, the word baroque describes something Famous Painter
that is elaborate and highly detailed.
 Annibale Carracci (1560-1609) of the Bolognese
The most important factors during the Baroque School - Christ Wearing the Crown of Thorns
era were the Reformation and the Counter-Reformation,  Peter Paul Rubens (1577-1640) - Descent from
with the development of the Baroque style considered to be the Cross
linked closely with the Catholic Church. The popularity of  Carravaggio (1571-1610) - The Calling of Saint
the style was in fact encouraged by the Catholic Church, Matthew
which had decided at the Council of Trent that the arts  Domenichino (1581-1641) - The Last
should communicate religious themes and direct emotional Communion of St Jerome
involvement in response to the Protestant Reformation.  Simon Vouet (1590-1649) - Psyche Watching
Baroque art manifested itself differently in various Amor Sleep
European countries owing to their unique political and  Artemisia Gentileschi (1593-1656) - Judith
cultural climates. Beheading Holofernes
 Nicolas Poussin (1594-1665) - Abduction of the
In fine art, the term Baroque (derived from the
Sabine Women
Portuguese 'barocco' meaning, 'irregular pearl or stone')
describes a fairly complex idiom, originating in Rome,  Diego Velazquez (1599-1660) - Waterseller of
which flowered during the period. Baroque art above all Seville
reflected the religious tensions of the age - notably the  Rembrandt (1606-69) - The Anatomy Lesson of
desire of the Catholic Church in Rome Dr. NicolaesTulp
 Carlo Maratta (Maratti) (1625-1713) -
Constantine ordering the Destruction of Pagan
Idols
Styles/Types of Baroque Art
Famous Baroque Sculptors (and Sculptures)
 Baroque painting illustrated key elements of
Catholic dogma, either directly in Biblical works  Giovanni Bernini - The Rape of Proserpine
or indirectly in mythological or allegorical  Juan MartinesMontanes (1568-1649) - The
compositions. Merciful Christ (The Christ of Clemency)
 JorgZurn (1583-1638) - High Altar of the Virgin
 Baroque sculpture, typically larger-than-life size, Mary
is marked by a similar sense of dynamic  Francois Duquesnoy (1597-1643) - St Andrew
movement, along with an active use of space.  Alessandro Algardi (1598-1654) - Tomb of Pope
Leo XI
 Baroque architecture was designed to create  Alonzo Cano (Granada, 1601-1667) - The
spectacle and illusion. Immaculate Conception
 Pierre Puget (1622-1694) - Milo of Crotona
3 strands of baroque art
 Francois Girardon (1628-1715) - Apollo Tended
 Religious Grandeur - A triumphant, extravagant, by the Nymphs
almost theatrical (and at times) melodramatic  Antoine Coysevox (1640-1720) - Charles Lebrun
style of religious art, commissioned by the  Andreas Schluter (1664-1714) - Equestrian
Catholic Counter Reformation and the courts of Statue of Frederick William the Great
the absolute monarchies of Europe.  Guillaume Coustou (1677-1746) - Horse
restrained by a Groom ("Marly Horses")
 Greater Realism - A new more life-like or
naturalist style of figurative composition. Famous Architects
  PietroBerrettini da Cortona (1596-1669) - Luca e  Christopher Wren (1632-1723) - St Paul's
Martina Cathedral
 Bernini (1598-1680) - Palazzo Barberini  John Vanbrugh (1664-1726) - Castle Howard
 Francesco Borromini (1599-1667) - St Carlo alle (1702-12)
Quattro Fontane  Johann Bernhard Fischer von Erlach (1656-1723)
 Louis Le Vau (1612-70)Hotel Lambert - Kollegienkirche
 Jules HardouinMansart (1646-1708) - Chateau de  Balthasar Neumann (1687-1753) -
Marly Wallfahrtskirche
 BartolomeoRastrelli (1700-1771) - Smoly
Cathedral (1748-57, St Petersburg)

ROCOCO ART
 The word “rococo” derives from rocaille, which is French for rubble or rock. Rocaille
refers to the shell-work in garden grottoes and is used as a descriptive word for the
serpentine patterns seen in the Decorative Arts of the Rococo period.

 Rococo style developed first in the decorative arts and interior design, and its influence
later spread to architecture, sculpture, theater design, painting, and music.

 Rococo style is characterized by elaborate ornamentation, asymmetrical values, pastel

color palette, and curved or serpentine lines.

 Rococo art works often depict themes of love, classical myths, youth, and playfulness.

 Antoine Watteau is considered to be the first great Rococo painter who influenced later
Rococo masters such as Boucher and Fragonard.

 Rococo Artworks:
- Jean Antoine Watteau, La Surprise
- Jean Honoré Fragonard, La coquette fixée (The Fascinated Coquette)
- Pilgrimage to Cythera by Antoine Watteau
- Blond Odalisque by Francois Boucher
NEO-CLASSICISM - serious, unemotional, and sternly
heroic
- from the Greek word kainos: “new” - uses sombre colors with some
and Latin classicus: “of the highest
highlights to convey moral narratives
rank”. of self-denial and self-sacrifice
- also known as “The Classical
Revival”
- an art movement inspired from the
classical art culture of Greece and - depictions of events from history,
Rome. (Europe, mid 18th Century – mythology, and the architecture and
end of 19th century) ruins of ancient Rome.
- revival of artistic canons of classical  Jacques-Louis David - French
antiquity in relation to the painter, works were widely
Enlightenment Period considered as the epitome of
- a response from the then rising Neoclassical painting.
movements of Baroque and Rococo.
- based on simplicity and symmetry PAINTERS AND PAINTINGS
• Jacques-Louis David
 Johann Joachim Winckelmann Oath of the Horatii (1784), Musee du
Louvre.
- German art historian 
• Pablo Picasso
- believes that art should aim ideal forms
Seated Woman (Picasso) (1920) Musee
and beauty similar to that of the Greek art.  
Picasso, Paris.
- described the neoclassical movement as
• Jean-Auguste-Dominique Ingres
"noble simplicity and calm grandeur". 
La Grande Odalisque (1814), Louvre..

CHARACTERISTICS SCULPTORS AND SCULPTURES

- use of straight lines, smooth • Antonio Canova (1757-1822)
surfaces, the representation of light, Apollo Crowning Himself (1781) J Paul
lesser use of color with a clear and Getty Museum, Los Angeles.
crisp definition of forms. • Franz XaverMesserschmidt (1736-1783)
- subjects relates to either Greco- Character Head series of 69 portrait busts.
Roman history or other cultural • Jean-Baptiste Pigalle (1714-85)
attributes like allegory and virtue. Voltaire (1770-76) Louvre, Paris.
ARCHITECTS AND BUILDINGS -Buckingham Palace, London (1821-35) by
Pantheon, Paris (1756-97) by Jacques John Nash.
GermainSoufflot. -US Capitol Building (begun 1793) by
- Rotonde de la Villette, Paris (1786) by Benjamin Henry Latrobe.
Claude Nicolas Ledoux.

ROMANTIC ART
Romanticism

 Started in the end of the 1700s and reached its peak in the early 1800s
 Cultural movement that started in Europe
 A reaction to the Industrial Revolution which occurred during the same time period
 Focused on emotions, feelings, moods – including imagination, mystery and fervor

How to identify Romantic Art?

 The skies are gloomy or cloudy as a sign imminent danger and fear of the unknown
 Focuses on nature – dark on a literal and figurative sense
 Dramatic scenes of man or nature
 The sky is prominent and overwhelming, taking over about half of the painting
 Horrific and gothic images, which shows intense pain, anguish, anger or fear

Examples of Romantic Art

 The Nude Maja, Francisco Goya

 The Nightmare, Henry Fuseli
 The Raft of the Medusa, Theodore Gericault
 The Third of May 1808, Francisco Goya
 The Kiss, Francesco Hayez
 Saturn Devouring His Son, Francisco Goya
 Wanderer Above the Sea of Fog, Caspar David Friedrich
REALISM
Realism was an artistic movement that
began in France in the 1850s, after the 1848
Revolution. Realists rejected Romanticism,
which had dominated French literature and art
since the late 18th century. Realism revolted
against the exotic subject matter and the
exaggerated emotionalism and drama of the
Romantic movements.
REALISM portrays real and typical
contemporary people and situations with TRUTH
and ACCURACY, and not avoiding unpleasant
or sordid aspects of life.

The term REALISM was promoted by the

French novelist Champfleury during the 1840s,
although it began in earnest in 1855, with an
Exposition by the French
painter GustaveCourbet(1819-77), after one of his
paintings (The Artist's Studio) had been rejected by
the World Fair in Paris. Courbet set up his own
marquee nearby and issued a manifesto to
accompany his personal exhibition. It was
entitled "Le Realisme".
Gustave Courbet painted the world as he saw it, in
according a primary role to visual presentation
rather than to the imaginative manipulation of
forms.
He forced artists and spectators to question the functions, subject matter and themes of art
and methods employed in visual representation.
REALISTS ARTISTS
Jean-Francois Millet (1814-75)
Gustave Courbet (1819-77)
Honore Daumier (1808-79)

IMPRESSIONISM

 Impressionism in painting was an attempt to accurately and objectively record

visualreality in terms of transient effects of light and color.
 Light strokes and vivid colors
 In music, it was to convey an idea or affect through a wash of sound rather than a strict
formal structure.
 Claude Monet, ÉdouardManet, Edgar Degas, and Camille Pissarro are some of the
famous painters in this time
 The artists were unified by the annual Salon
 Claude Monet’s Impression, Sunrise (MuséeMarmottan Monet, Paris) exhibited in
1874, gave the Impressionist movement its name
 Artist began to discover more about art and neo-impressionism enter
 Musical Impressionism is often thought to refer to subtle fragility, amorphous passivity,
and vague mood music
 Debussy's impressionist works through characteristic motifs, harmony, exotic scales and
other elements.
 Debussy and Ravel in particular, are also labeled as symbolist composers. One trait
shared with both aesthetic trends is "a sense of detached observation: rather than
expressingdeeply felt emotion or telling a story."

Claude Monet: Impression, Sunrise

 Camille Pissarro: The Boulevard Montmartre atNight

POST-IMPRESSION

Post-Impressionism is a term used to

describe the reaction in the 1880s against DISTINCTIVE BRUSHSTROKES
Impressionism. It was led byPaul Cézanne, Post-Impressionist pieces feature
Paul Gauguin, Vincent van Gogh and discernible, broad brushstrokes. In addition
Georges Seurat. The Post-Impressionists to adding texture and a sense of depth to a
rejectedImpressionism’s concern with the work of art, these marks also point to the
spontaneous and naturalistic rendering of painterly qualities of the piece, making it
light and colour. Instead they favoured clear that it is not intended to be a realistic
anemphasis on more symbolic content, representation of its subject.
formal order and structure. It is
characterized by a subjective approach POINTILLISM
topainting, as artists opted to evoke emotion Pointillism is a painting technique
rather than realism in their work. that employs small, colourful dots that work
together to create a cohesive composition.
EMOTIONAL SYMBOLISM
JAPONISME
Post-Impressionists believed that a Similar to the ways in which
work of art should place emphasis on Impressionist artists found aesthetic
symbolism, communicating messages from inspiration in Japanese art's use of
the artist's own subconscious. Post- perspective and treatment of color,
Impressionists perceived it as a way to
convey feelings. PRIMITIVISM
Two main qualities of Primitivism—
EVOCATIVE COLOR an interest in non-Westernsubject matter and
Saturated hues, multi-coloured a naive style of painting—and also
shadows, and rich ranges of colour are capturethe artists' interest in emotional and
evident in most Post-Impressionist even dream-like subjectmatter.
paintings, proving the artists' innovative and
imaginative approach to representation.

Post VS - was a style of painting derived from

Impressionism impressionism.
- Paintings were done in studios
- Used geometric form to depict its subjects
- Paved the way for modern art
- Involved more methodical and time - Paintings were done outdoors
consuming process - Used small thin brushstrokes that gave the
- Based on emotion and concept of the artist painting softer edges
Impressionism - Paved way for neo-impressionism, fauvism
& cubismand postimpressionism
- Quick process
- was a style of painting which emphasized - Captures the heat of the subject
colour.

NEO-IMPRESSIONISM
The term Neo-Impressionism refers to a pictorial technique where color pigments are no
longer mixed either on the palette or directly on canvas, but instead placed as small dots side by
side. Mixing of colors takes place from a suitable distance, in the observer's eye, as an "optical
mixture".
In the latter part of the 19th century, Neo-Impressionism foregrounded the science
of optics and color to forge a new and methodical technique of painting that eschewed the
spontaneity and romanticism that many Impressionists celebrated. Relying on the viewer's
capacity to optically blend the dots of color on the canvas, the Neo-Impressionists strove to
create more luminous paintings that depicted modern life. With urban centers growing and
technology advancing, the artists sought to capture people's changing relationship with the city
and countryside. Many artists in the following years adopted the Neo-Impressionist technique of
Pointillism, the application of tiny dots of pigment, which opened the door to further
explorations of color and eventually abstract art.

Here are the key ideas to neo-impressionism…

 In order to more fully capture the luminosity seen in nature, the Neo-
Impressionists turned to science in finding their painting technique of juxtaposing
various colors and tones to create a shimmering, illuminated surface. By
systematically placing contrasting colors, as well as black, white, and grey, next
to each other on the canvas, the painters hoped to heighten the visual sensation of
the image.
 Neo-Impressionists aimed to produce correspondences between emotional states
and the forms, lines, and colors presented on the canvas that spoke to the
modernity of urban life in the age of industrialization.
 Two terms closely associated with Neo-Impressionism - Divisionism and
Pointillism - are practically interchangeable. Most broadly, Divisionism is a color
theory that advocates placing small patches of pure pigment separately on the
canvas in order that the viewer's eye will optically blend the colors. Divisionism
became widely applied to any artist dividing or separating color while using small
 brushstrokes. Pointillism relied on the same theory of optical blending but
specifically applied tiny separate "points," or dots, of pigment.
 Most of the Neo-Impressionists held anarchist beliefs. Their depictions of the
working class and peasants called attention to the social struggles taking place as
the rise of industrial capitalism gained speed, and their search for harmony in art
paralleled their vision of a utopian society

SYMBOLISM
Symbolism is a form of art or practice that use symbols (e.g. conventional and traditional
signs) through innovating intangible or invisible things (e.g. divine beings, spirits, social truths)
into visible and deep representations.
Symbolism as an art movement: Symbolism refers to a movement in both literature and
the visual arts during the late 19th Century. It was coined by a French critic Jean Moreas to
describe the poetry of Paul Verlaine, particularly Les PoetesMaudits (The Cursed Poets). It also
appeared among French poet, who developed an idealistic type of verse, as a reaction to
Naturalism and Realism. The Symbolists drew inspiration from the mid-century poetry and
critical writing of Charles Baudelaire and from the earlier works of Edgar Allen Poe.

Most of the symbolists’ movements (especially in visual arts) are manifestation of a response to
impressionism:
 A rejection to positivism and materialism as ways of knowing the world
 A rejection of impressionism as an art which makes the objective world subjective
 A rejection of bourgeois moral decadence

Symbolism in art is separate but related to the literary movement. There were many factors
which caused Symbolism to spread rapidly within intellectual circles and find adherents
among artists throughout Europe. Foremost, a surge of Symbolist imagery at the end of the
century represented a reaction to the effects of urbanization and materialism evident in the
latter phases of the Industrial Revolution. Thematically, the art of Symbolism developed as
a counter-current to impressionism and the various forms of Naturalism. Symbolism
emphasized the free access to the artist’s inner world, allowing liberation from nature as a
model and from the boundaries of artistic conventions.

Known Proponents:
Symbolism was an International phenomenon, however it became most prominent in the
following countries:
 France (Gustave Moreau, Odilon Redon, Paul Gauguin)
 Belgium (FernandKhnopff, Jean Delville)
  Britain (Dante Gabriel Rossetti, Sir Edward Coley Burne-Jones, George Frederic
Watts, Aubrey Beardsley).

ART NOUVEAU
Art Nouveau, ornamental style of art that employed, for example, in the creation of unified interiors
flourished between about 1890 and 1910 throughout in which columns and beams became thick vines with
Europe and the United States. Art Nouveau is characterized spreading tendrils and windows became both openings for
by its use of a long, sinuous, organic line and was light and air and membranous outgrowths of the organic
employed most often in architecture, interior design, whole. This approach was directly opposed to the
jewelry and glass design, posters, and illustration. It was a traditional architectural values of reason and clarity of
deliberate attempt to create a new style, free of the structure.
imitative historicism that dominated much of 19th-century
art and design. Art Nouveau developed first in England and After 1910 Art Nouveau appeared old-fashioned
soon spread to the European continent, where it was called and limited and was generally abandoned as a distinct
Jugendstil in Germany, Sezessionstil in Austria, Stile decorative style. In the 1960s, however, the style was
Floreale (or Stile Liberty) in Italy, and Modernismo (or rehabilitated, in part, by major exhibitions organized at the
Modernista) in Spain. The term Art Nouveau was coined by Museum of Modern Art in New York (1959) and at the
a gallery in Paris that exhibited much of this work. Musée National d’ArtModerne (1960), as well as by a
large-scale retrospective on Beardsley held at the Victoria
In England the style’s immediate precursors were & Albert Museum in London in 1966. The exhibitions
the Aestheticism of the illustrator Aubrey Beardsley, who elevated the status of the movement, which had often been
depended heavily on the expressive quality of organic line, viewed by critics as a passing trend, to the level of other
and the Arts and Crafts movement of William Morris, who major Modern art movements of the late 19th century.
established the importance of a vital style in the applied Currents of the movement were then revitalized in Pop and
arts. On the European continent, Art Nouveau was also Op art. In the popular domain, the flowery organic lines of
influenced by experiments with expressive line by the Art Nouveau were revived as a new psychedelic style in
painters Paul Gauguin and Henri de Toulouse-Lautrec. The fashion and in the typography used on rock and pop album
movement was also partly inspired by a vogue for the linear covers and in commercial advertising.
patterns of Japanese prints (ukiyo-e).

The distinguishing ornamental characteristic of

Art Nouveau is its undulating, asymmetrical line, often
taking the form of flower stalks and buds, vine tendrils,
insect wings, and other delicate and sinuous natural objects;
the line may be elegant and graceful or infused with a
powerfully rhythmic and whiplike force. In the graphic arts
the line subordinates all other pictorial elements—form,
texture, space, and colour—to its own decorative effect. In
architecture and the other plastic arts, the whole of the
three-dimensional form becomes engulfed in the organic,
linear rhythm, creating a fusion between structure and
ornament. Architecture particularly shows this synthesis of
ornament and structure; a liberal combination of materials
—ironwork, glass, ceramic, and brickwork—was
 Dragonfly corsage ornament made of
gold, enamel, chrysoprase, moonstones,
and diamonds, designed by Rene
Lalique, 1897-98; in the Gulbenkian
Museum, Lison.

Beardsley, Aubrey: illustration for Le MorteDarthur© Art

Media—Heritage Images/Imagestate

Art Nouveau illustration by Aubrey Beardsley for an 1893

edition of Sir Thomas Malory's Le MorteDarthur.Ann
Ronan Picture Library/Heritage-Images

© Art Media—Heritage-Images/Imagestate

FAUVISM
 Fauvism is characterized by strong colors and fierce
brushwork.
 The Fauves ("wild beasts") were a loosely allied group
of French painters with shared interests. Several of
them, including Henri Matisse, Albert Marquet, and
Georges Rouault.
 The collective experiments of Post-Impressionist
painters led to Fauvism. Their experiments with paint application, subject matter,
 Henri Matisse is generally considered the principal founding artist of Fauvism.
 Matisse was greatly influenced by Moreau's teaching that personal expression was among
the most important attributes of a great painter. Also of considerable importance to the
young Matisse were the techniques and systematic visual language of Pointillism.
 His observation of this technique led him to develop "color structure"
 Began working with bright color, directly from the tube, as a means of conveying
emotion.
 The fauvists were interested in the scientific color theories developed in the nineteenth
century – particularly those relating to complementary colors.
 One of Fauvism's major contributions to modern art was its radical goal of separating
color from its descriptive, representational purpose.
EXPRESSIONISM
Expressionism, artistic style in which the artist seeks to depict not objective reality but
rather
the subjective emotions and responses that in which he feels as an accurate representation of its
objects and events arouse within a person. The artist real meaning. It was not important to reproduce an
accomplishes this aim through distortion, aesthetically pleasing impression of the artistic
exaggeration, primitivism, and fantasy and through subject matter, they felt, but rather to represent vivid
the vivid, jarring, violent, or dynamic application of emotional reactions by powerful colours and dynamic
formal elements. compositions. The search of harmony and forms is
not as important as trying to achieve the highest
In a broader sense, Expressionism is one of expression intensity, both from the aesthetic point of
the main currents of art, originating in Germany at view and according to idea and human critics.
the beginning of the 20th century; and its qualities of
highly subjective, personal, spontaneous self-
expression are typical of a wide range of modern
artists and art movements. Expressionist artists BIRTH AND DEVELOPMENT
sought to express the meaning of emotional
experience rather than physical reality. The roots of the German
Expressionist school lay in the works
In reaction and opposition to French of Vincent van Gogh, Edvard Munch,
Impressionism, which emphasized the rendering of and James Ensor, each of whom in the
the visual appearance of objects, Expressionist artists period 1885–1900 evolved a highly
sought to portray emotions and subjective personal painting style. These artists
interpretations. It's goal is to strongly impose the used the expressive possibilities of
artist’s own sensibility to the world’s representation-- colour and line to explore dramatic and
emotion-laden themes, to convey the qualities of fear, Expressionism was a dominant style in
horror, and the grotesque, or simply to celebrate Germany in the years immediately following World
nature with hallucinatory intensity. They broke away War I, where it suited the postwar atmosphere of
from the literal representation of nature in order to cynicism, alienation, and disillusionment. Some of
express more subjective outlooks or states of mind the movement’s later practitioners, such as George
Grosz and Otto Dix, developed a more pointed,
In 1905, a group of four German artists, led socially critical blend of Expressionism and realism
by Ernst Ludwig Kirchner, formed Die Brücke (the known as the NeueSachlichkeit (“New Objectivity”).
Bridge) in the city of Dresden. This was arguably the As can be seen from such labels as Abstract
founding organization for the German Expressionist Expressionism and Neo-Expressionism, the
movement, though they did not use the word itself. spontaneous, instinctive, and highly emotional
The group included Erich Heckel, Karl Schmidt- qualities of Expressionism have been shared by
Rottluff, and Fritz Bleyl. These painters were in several subsequent art movements in the 20th
revolt against what they saw as the superficial century.
naturalism of academic Impressionism. They wanted
to reinfuse German art with a spiritual vigour they
felt it lacked, and they sought to do this through an
elemental, primitive, highly personal and
spontaneous expression. Die Brücke’s original
members were soon joined by the Germans Emil
Nolde, Max Pechstein, and Otto Müller. The Edvard Munch, The Scream, 1893, oil,
Expressionists were influenced by their predecessors tempera and pastel on cardboard, 91 x 73 cm,
of the 1890s and were also interested in African National Gallery of Norway, inspired 20th-century
wood carvings and the works of such Northern
European medieval and Renaissance artists as
Albrecht Dürer, Matthias Grünewald, and Albrecht
Altdorfer.

CUBISM
Cubism is an early-20th-century art movement movement was initially developed in the studios of
which brought European painting and sculpture Picasso and Braque; the second phase being called
historically forward toward 20th century Modern art. "High Cubism" or analytic cubism, (from 1909 to 1914)
Cubism in its various forms inspired related movements during which time Juan Gris emerged as an important
in literature and architecture. Cubism has been exponent (after 1911); and finally Cooper referred to
considered to be among the most influential art "Late Cubism" (from 1914 to 1921) as the last phase of
movements of the 20th century. This art movement Cubism as a radical avant-garde movement
pioneered by Pablo Picasso and Georges Braque, joined
by Jean Metzinger, Albert Gleizes, Robert Delaunay, .
Henri Le Fauconnier, and Fernand Léger. In Cubist Proto-Cubism (1906-1908)
artwork, objects are analyzed, broken up and
reassembled in an abstracted form—instead of depicting Proto-Cubist artworks typically depict objects
objects from a single viewpoint, the artist depicts the in geometric schemas of cubic or conic shapes. The
subject from a multitude of viewpoints to represent the illusion of classical perspective is progressively stripped
subject in a greater context. away from objective representation to reveal the
constructive essence of the physical world (not just as
seen).
History

English art historianDouglas Cooper proposed High Cubism (1909-1914)

a scheme, describing three phases of Cubism in his
book, The Cubist Epoch. According to Cooper there was Analytic Cubism
"Early Cubism", (from 1906 to 1908) when the
 A particularly austere form of avant-garde art, consistent with a shift, between 1915 and 1916, towards
analytical Cubism was the most intellectual and a strong emphasis on flat surface activity and large
uncompromising stage of the Cubism movement. In this overlapping geometric planes. The primacy of the
style, the relatively solid masses of Braque's and underlying geometric structure, rooted in the abstract,
Picasso's early paintings give way to a consistent controls practically all of the elements of the artwork.
process of composition in which the forms of the objects
depicted are fragmented into a large number of small A significant modification of Cubism between
intricately hinged opaque and transparent plates or 1914 and 1916 was signaled by a shift towards a strong
planes - all set in low relief at a slight angle to the emphasis on large overlapping geometric planes and flat
picture plane - that fuse with one another and with the surface activity. This grouping of styles of painting and
surrounding space. In very simple terms, this semi- sculpture, especially significant between 1917 and 1920,
abstract analytic Cubist approach can be likened to that was practiced by several artists; particularly those under
of a photographer who takes a large number of contract with the art dealer and collector Léonce
photographs of an object, all from different angles and Rosenberg.
different times. These photographs are then cut up and
rearranged almost at random on a flat surface, so that
they overlap with each other. Cubism after 1918

After World War I, with the support given by

the dealer Léonce Rosenberg, Cubism returned as a
Late Cubism (1914-1921) central issue for artists, and continued as such until the
Crystal Cubism (1914-1918) mid-1920s when its avant-garde status was rendered
questionable by the emergence of geometric abstraction
Crystal Cubism (French: Cubismecristal or and Surrealism in Paris.
Cubisme de cristal) is a distilled form of Cubism

FUTURISM
- Italian: FUTURISMO
- Developed as an avant- garde art
movement and social movement in
the early 20th century in Italy.
- Where artist sought to infuse modern
art with the vitality, energy, violence
and motion of the machine world.
- It emphasized speed, technology,
youth, violence and objects such as
the car, the airplane, and the
industrial city.
 It is launched by Italian poet FILIPPO
TOMMASO MARINETTI in 1909, on
the front page of the Paris Newspaper LE FILARO.
 Chief artist associated with futurism were GiancomoBalla, Umberto Boccioni, Gino
Severini, Carlo Carra and Luigi Russolo.
 Among modernist futurism was exceptionally vehement in its denunciation of the past,
this was because in Italy the weight of past culture was felt as particularly oppressive.
  They were interested in embracing popular media and new technologies to communicate
their ideas.
 Their enthusiasm for modernity and the machine ultimately led them to celebrated the
arrival of the 1st world war.
 The Futurists practiced in every medium of art, including painting, sculpture, ceramics,
graphic design, industrial design, interior design, urban design, theatre, film, fashion,
textiles, literature, music, architecture, and even Futurist meals.
 The movement was at its strongest from 1909, when Filippo Marinetti’s first manifesto of
Futurism appeared, until the end of World War One. Futurism was unique in that it was a
self-invented art movement.
 To some extent Futurism influenced the art movements Art
Deco, Constructivism, Surrealism, Dada, and to a greater degree Precisionism, Rayonism,
and Vorticism.

ABSTRACT (NON-OBJECTIVE)

 It is an art that does not attempt to represent an accurate depiction of a visual reality.
 The word abstract means to separate or withdraw something from something else.
 Has no recognizable subject, because certain colors and shapes were caused by
emotions.
Background:
Since the early 1900s, abstract art has formed a central stream of modern art.The Abstract
Expressionism movement began in the 1940s in New York City after World War II. However,
the first real Abstract Art was painted earlier by some Expressionists, especially Kandinsky in
the early 1900s.
Artists:
•Wassily Kandinsky - father of abstract painting
•Piet Mondrian – he developed an Abstract painting style that involved straight lines and
colored rectangles, “The Style".
•Jackson Pollock – he created paintings without using brush strokes called Action Paintings
and became famous for his large paintings made with dribbles and splashes of paint.
NON-OBJECTIVE

 is used as a synonym for abstract art., style within the category of abstract work and
the subcategory of non-representational art.

 tends to be geometric and does not represent specific objects, people, or other
subjects found in the natural world and it can also be called as concrete art, geometric
abstraction, and minimalism.

CHARACTERISTIC:
• careful placement of each geometrical shape and line and no matter how hard you try, you
will not find a meaning or subject within it.
• In paintings, artists tend to avoid thick texture techniques like impasto, preferring clean,
flat paint and brushstrokes.
• You will also notice a simplicity in perspective.
APPEAL of Non-Objective
▪ have a rather universal and timeless appeal. It does not require the viewer to have a
personal relationship with the subject, so it attracts a broader audience over many generations.

DADAISM
- Dadaism or Dada is a post-World War I cultural movement in visual art as well as
literature (mainly poetry), theatre and graphic design.
- a protest against the barbarism of the War and what Dadaists believed was an oppressive
intellectual rigidity in both art and everyday society; its works were characterized by a
deliberate irrationality and the rejection of the prevailing standards of art.
- Richard Huelsenbeck is the founder of Dadaism. He is a poet, and painter- musician
Hugo Ball selected the word at random from a German-French Dictionary.
- “Dada” was coined in Zurich in 1916. A nonsense word, it means “Yes-Yes” in Russian,
“There-There” in German (baby talk), and “Hobby horse” in French.
- Dadaism was a cultural manifestation which grew in the beginning of the 20th century,
more precisely between 1916-1923.
- It employed a barrage of demonstrations and manifestos, and exhibitions of absurdist art
which were designed to shock both the authorities and the general public.
- Cabaret Voltaire was founded in Zurich by Richard Huelsenbeck, Hugo Ball, Jean Arp
and Tristan Zara, as an early center of multi-cultural Dada events and protest shows.
- The “Fountain”, a major Dadaist work by Marcel Duchamp, was rejected at the
exhibition of the Society of Independent Artists, causing an uproar among the Dadaists.
 - It influenced later modern art movements such as Surrealism and Pop Arts and led to
important innovations in fine art like collage and photo-montage.
Concept and Style

- Social Critique - Nonsense and Irrational

- Anti-Art - “Ready-made” Object
- Shock Value - Irony
- Chance

Famous Dadaist

- Jean Arp (1887-1966): Poet and Sculptor

- Marcel Duchamp (1887-1968): Avant-Garde Artist

- Max Ernst (1891-1976): Painter, Sculptor, Graphic

artist, Poet

- Man Ray (1890–1976): Painter, Photographer

SURREALISM
 Defined as “Psychic automatism  According to the poet and critic
in its pure state by which we propose to André Breton, Surrealism was a means of
express- verbally, in writing, or in any other reuniting conscious and unconscious realms of
manner- the real process of thought. The experience so completely that the world of
dictation of thought, in the absence of any dream and fantasy would be joined to the
control exercised by reason and outside any everyday rational world in “an absolute reality,
aesthetic or moral concerns.” a surreality.”

 A movement in visual art and literature,

flourishing in Europe between World Wars  A literary and art movement, dedicated to
Iand II. Surrealism grew principally out of the expressing the imagination as revealed in
earlier Dada movement, which before World dreams, free of the conscious control of reason
War I produced works of anti-art that and convention. The Surrealists sought to
deliberately defied reason; but Surrealism’s channel the unconscious to unlock the power
emphasis was not on negation but on positive of the imagination.
expression.
  Surrealism inherited its anti-rationalist  Though it was a movement dominated by men
sensibility from Dada but was lighter in spirit —and often regarded as outright sexist several
than that movement. talented women made inroads, if only briefly,
into Breton’s tight-knit circle. Many of the
 Founded in Paris in 1924 by André Breton women had close, usually intimate,
with his Manifesto of Surrealism, the relationships with the male artists, but they
movement’s principal aim was ‘to resolve the also flourished artistically and exhibited at
previously contradictory conditions of dream Surrealist exhibitions.
and reality into an absolute reality, a super  Dorothea Tanning, Kay Sage, Leonora
reality.” Carrington, Meret Oppenheim – these women
were essential members of the Surrealist
 The original Parisian Surrealists used art as a group.
reprieve from violent political situations and to
address the unease they felt about the world's  SURREALISM in Philippine art is an
uncertainties. By employing fantasy and dream individual style rather than a movement
imagery, artists generated creative works in a compared to its development in Latin America,
variety of media that exposed their inner minds USA and Europe. We have no historical
in eccentric, symbolic ways, uncovering surrealist movement in the country with a
anxieties and treating them analytically cohesive manifesto that sprang from political
through visual means. or anarchic cause relative to its inception in the
early 1920s by French poet and writer André
 With its emphasis on content and free form, Breton. Hence, Surrealismin the Philippines is
Surrealism provided a major alternative to the a road less traveled bylocal artists, a personal
contemporary, highly formalistic Cubist pursuit of creativestyle and technique rather
movement and was largely responsible for than as a populargenre in our local art scene.
perpetuating in modern painting the traditional But is not widelyaccepted by Filipinos because
emphasis on content there are veryfew surrealists in the country.
Besides,Filipinos are not outspoken when it
 Major Surrealist painters – Jean Arp (born comes toappreciating art or any artistic
Hans Arp), Max Ernst, André Masson, René movement, forthat matter. In general, Filipinos
Magritte, Yves Tanguy, Salvador Dali, Pierre are moreemotional and visual than intellectual
Roy, Paul Delvaux, Joan Miró. when itcomes to appreciating and
understanding art.

CONSTRUCTIVISM

Kazimir Malevich - a russian painter and art theoretician who

first used the term "constructivist art".

Vladimir Tatlin - first placed the cornerstone of the

constructivist art movement. He was inspired by Pablo
Picasso's series of wooden reliefs and later on made his own
sculptures with assorted materials.

Corner Counter-Relief - Tatlin's relief that was exhibited in

1919. The sculpture was suspended in the mid-air and in a
corner.

Tatlin's Tower (1920) - the tower was an unusual spiral-shaped building which was planned to
build a headquarter after the Bolshevik Revolution of 1917. However, the tower was never built.

Tatlin's Tower in 1920 by Vladimir

Tatlin
 Russian constructivism had spread across the
world especially in Germany, England, and
America.

 Constructivism stood for three ideals:

abstraction, functionalism, and utilitarianism

 Consisted of three, as well as, two

dimensional art forms.

 Consisted of themes that were often

geometric, minimal, experimental, and rarely emotional.
Counter-Reliefs (1914-1915) by Vladimir Tatlin

 New media was used in the creation of

artworks and industrial materials like glass,
steel, and plastic.

 The artwork combines combination of

different sans serif fonts and colors are
simple, flat, and symbolic.
Paperback book covers (1924) by Alexander
DE STILL Rodchenko

 De Still or De Stijl is a Dutch artistic movement

- It also means “The Style” in Dutch.

- consisting of only the most basic design components — vertical and horizontal lines,
primary colors.
- It is also called Neoplasticism

 Headed by Dutch artists Piet Mondrian and Theo van Doesburg,

- They are both Dutch.

 Piet Mondrian
 - Composition with Red, Yellow and Blue (1921)
- Broadway Boogie Woogie
- The Tree

 Theo Van Doesburg

- Dancers
- Composition VIII
- Rhythm of a Russian Dance

ABSTRACT EXPRESSIONISM - an artistic style

- type of representation wherein the
emotions and reactions felt by the artist is
Abstract Art shown in his/her work
- it is highly subjective, personal, and it
- began in the 19th century involves spontaneous self-expression
- use of geometrical shapes, colors, and usually done by the artist
other elements to create an artwork
- also called non-representational or non- Abstract Expressionism
objective art
- an art movement
Expressionism - developed by artists like Willem de
Kooning, Jackson Pollock, etc. during the
1940s and 1950s canvas
- it is usually characterised by brush-strokes - abstract lines and colors are usually
and the impression of spontaneity found in this type of painting
- was called such because although it is
abstract, they still wanted to create art that
expresses emotions  Color Field Painters (also known as Post-
- inspired by surrealism and automatism Painterly Abstraction)
- examples of artworks that belong to this - pioneered in the late 1940s by Mark
category are Mark Rothko’s Black on Rothko, Barnett Newman, and Clyfford
Maroon, 1958, Willem De Kooning’s The Still
Visit, 1966-1967, and Jackson Pollock’s - the artworks are usually very large,
Yellow Islands, 1952. uses a lot of bright colors while
emphasizing the flatness of the canvas
- talks about the tension created by the
2 TYPES OF ABSTRACT areas of flat color
EXPRESSIONISM - usually done by applying color in large
areas or ‘fields’ in the canvas
- minimum of surface detail
 Action Painters (also known as Gestural
Painting)
- challenged the common idea of using
familiar objects & themes in paintings
- conveys its subject without the use of
identifiable objects
- often uses large brushes to create large
strokes
- dripping and/or spilling paint in the

OPTICAL ARTS

 Op Art or optical art can be defined as a type of abstract or concrete art consisting of non-
representational geometric shapes which create various types of optical illusion.

 These effects fall into two basic categories: first, movement caused by certain specific
black and white geometric patterns, which can confuse the eye even to the point of
inducing physical dizziness. Second, after-images which appear after viewing pictures
with certain colours, or colour-combinations.

 Historically, the Op-Art style may be said to have originated in the work of the kinetic
artist Victor Vasarely (1908-97), and also from Abstract Expressionism.
  Abstract art is art that does not attempt to represent an accurate depiction of a visual
reality but instead use shapes, colours, forms and gestural marks to achieve its effect.

 Kinetic art refers to works that incorporate real or apparent movement.

 Victor Vasarely was a French-Hungarian artist credited as the father of the Op Art
movement. He created compelling illusions of spatial depth. One of his famous works is
Vega-Nor.

 Bridget Riley was regarded as one of the 20th century's major abstract painters, and a
leading figure in British contemporary painting.

 Her paintings of the 1960s became synonymous with the Op Art movement, which
exploited optical illusions to make the two-dimensional surface of the painting seem to
move, vibrate, and sparkle. Movement in squares is one of her art work that popularized.

POP ART

 Pop Art an art movement that emerged in

the 1950s and prospered in America and  Renowned for its bold imagery, bright and
Britain during the 1960s. striking color palette, and repetitive
approach inspired by mass production.
 A distinctive genre of art that first
“popped” up in post-war Britain and
America.
Characteristics of Pop Art (Richard Hamilton,
1957)
 Generally characterized by an interest in
popular culture and imaginative  Popular (designed for a mass audience)
interpretations of commercial products that
led to a movement fashioned by unique and  Transient (short-term solution)
contemporaneous life based kind of art.
 Led to a movement fashioned by unique and  Expendable (easily forgotten)
contemporary life based kind of art
  Low cost, Mass produced  Glamorous

 Young (aimed at youth)  Big business

 Witty
“Pop Art should be popular, transient, expendable,
 Sexy low-cost, mass-produced, young, witty, sexy, gim-
micky, glamorous, and big business”
 Gimmicky
Subject Matter
 Artists’ vehicle of expressing their desire for
 Focuses on the use of “low” subject change.
matters: uncritical, encouraged by everyday
lives of people to heighten popular culture  Some of the Artists: Eduardo Paolozzi,
to the level of fine art Richard Hamilton (Father of British Pop
Art), and Peter Blake, etc.
 "high art" pertains to the critical and
traditional themes of morality, mythology,
and classic history. (Accdg. To Modernist
Richard Hamilton
Critics)
British Pop Art
Masterpieces that defined Pop Art Movement
 more academic in approach
 Just What Is It That Makes Today’s Homes
 focuses on creating humorous pieces or on So Different, So Appealing? (Richard
romanticizing their depictions of various Hamilton, 1956)
objects of mass media  Soup Cans (Andy Warhol, 1962)
 Whaam! (Roy Lichtenstein, 1963)
 Flourished with irony, youthful energy, and  Retroactive II (Robert Raucshenberg, 1964)
humorous style of interpretation  A Bigger Splash (David Hockney, 1967)

MINIMALISM
 A.K.A “Minimalist Art”, “Cool Art”, “ABC Art”
 American movement originated in New York City
 Characteristics: Extreme simplicity of form and unitary geometric forms and industrial
materials. Avoid metaphorical associations and symbolism. Usually repetitive.
 “Less is more”
 Minimalizing details and keeping the essential elements only.
 Abstraction Expressionism VS. Minimalism

Abstraction Expressionism (AE)

 Subconscious act of creation and personal relationship between artist and canvas.
 No objects depicted, purely dedicated to the emotions of an artist.
 Dramatic
Minimalism (M)
 Straightforward in terms of its message.
  Eliminates the excess elements to expose the most basic essence of art.
 Cool art
 Minimalist Painters and their works:
 Kasimir Malevich - Black Square
 Donald Judd - Untitled, 1968
 Constancio Bernardo - Perpetual Motion
 Frank Stella - The Marriage of Reason and Squalor, II (1959)
 Modern Minimalism:
 ELEGANCE
 Negative movement: last resort of artist or designers who are not talented enough to
offer a more personal and expressive work and shows the lack of expression. However,
there are artist or designers who make use of this movement to improve their design.
 It can be use in different areas of design: Movie posters, Fashion, Photography, Interior
Design, etc.
 Minimalistic life – living life only with the things that make you happy.

CONCEPTUAL ART
- From the term “conceptual”, this is a type of art based on the notion that the essence of art is
not on its aesthetic or finished output but rather on the idea (concept), planning, and
production process and may exist distinct from and in the absence of an object as its
representation.
- It emerged as an art movement in the 1960s and the term usually refers to art made from the
mid-1960s to the mid-1970s.
- Conceptualism could take the form of tendencies such as happenings, performance art,
installation, body art, and earth art.
- “dematerialization” of an art object in order to emphasize the importance of the ideas and
concepts behind it

HISTORY

 Marcel Duchamp – He is said to be the father of Conceptual Art

  Fountain (1917) - a standard urinal-basin signed by the artist with the pseudonym
"R.Mutt"
 1950s - Emergence of Neo-Dada led by John Cage, Robert Rauschenberg, and Jasper
Johns
 Henry Flynt of the Fluxus group - The term, conceptual art, was first used by him to
describe his performance piece as ‘concept art’ in 1961.
 For Conceptualists, their work could not be easily bought and sold and did not need to be
viewed in a formal gallery situation.
 However, conceptualists rejected Minimalisms’ embrace of the conventions of sculpture
and painting as mainstays of artistic production. For Conceptual artists, art need not look
like a traditional work of art, or even take any physical form at all.
 Another trend that emerged in the 1960s was the use of text in art works as they appear
alongside other visual elements.
 There was often a strong socio-political dimension to much of the work they produced,
reflecting wider dissatisfaction with society and government policies.
 In 1967, Sol LeWitt published this movement’s manifesto, “Paragraphs on Conceptual
Art”, in which he wrote: "What the work of art looks like isn't too important. It has to
look like something if it has physical form. No matter what form it may finally have it
must begin with an idea. It is the process of conception and realization with which the
artist is concerned."

Famous known artists during this period:

 Sol LeWitt – Wall Arts  Bruce McLean - Pose Work for

 Eleanor Antin- 100 Boots Plinth
 Joseph Kosuth-One and Three Chair

PHOTOREALISM
Beginnings

 In the mid-1960s, a far smaller movement of individual artists producing realistic

paintings related to photography began to practice their craft.
 In 1956, a recent graduate from the Art Institute of Chicago and specialized in
photography named Richard Estes, relocated to New York City and he regularly use his
camera to shoot and develop photographs as visual aids.
 As he continues to practice taking photos in New York, he reinterprets these snapshots to
his adopted city in paint which led to the concept of Photorealism.
 Most of Estes’ paintings are land- and cityscapes which were executed with a heightened
level of detail and lifelike accuracy.
  The first Photorealists were Chuck Close, Don Eddy, Richard Estes, Ralph Goings,
Robert Bechtle, Audrey Flack, Denis Peterson, and Malcolm Morley.
Overview

 Photorealism is an extremely realistic style of painting and drawing, in which the

artwork is based entirely on a photograph.
 Photorealist art is also often referred to as Super-Realism, New Realism, Sharp Focus
Realism, Verism, or Hyper-Realism
 Photorealist artists were reacting against Abstract Expressionism because it favored
spontaneous application of the paint, with no pre-planning.
 Photorealist Art required intricate pre-planning and careful replication of the chosen
imagery.
 Photorealist art shares some similarities with the Pop Art movement, whose return to
representational forms was also a reaction against the subconsciously-driven, process-
oriented paintings of Abstract Expressionism.
 Photorealist paintings usually depict commonplace objects or scenery, and sometimes
portraits. The imagery is often banal and ordinary, capturing the "everydayness" of
American life.
 Since Photorealist art primarily developed in the United States, the artwork is often
steeped in nostalgic Americana.
 Some examples of Photorealist paintings are Audrey Flack’s Chanel, Rob Hefferan’s
Wedding Portraiture, and Elizabeth Patterson’s Avenue Raymond Poincaré, Paris.

INSTALLATION ART

The term installation art is used to with the work of art. Some installations are
describe large-scale, mixed-media designed simply to be walked around and
constructions, often designed for a specific contemplated, or are so fragile that they can
place or for a temporary period of time. only be viewed from a doorway, or one end of
Usually, installation artists create these pieces a room. What makes installation art different
for specific locations, enabling them to expertly from sculpture or other traditional art forms is
transform any space into a customized, that it is a complete unified experience, rather
interactive environment. than a display of separate, individual artworks.
The focus on how the viewer experiences the
Installation artworks, sometimes work and the desire to provide an intense
described as environments often occupy an experience for them is a dominant theme in
entire room or gallery space that the spectator installation art. As artist IlyaKabakov said:
has to walk through in order to engage fully
Characteristics of Installation Art Famous installation artists
 IMMERSIVE  Joseph Beuys (1921-86)
A key attribute of installation art The war-scarred ex-Professor of
is its ability to physically interact with Monumental Sculpture at the Dusseldorf
viewers. While all artistic mediums have Academy, whose lard and felt
the ability to engage individuals, most installations, extensive use of found
do not completely immerse them in objects, bold lectures on art and
interactive experiences. creativity and career long dedication
earned him a retrospective at the
 Large scale Guggenheim Museum in New York
Given their interactive nature,
most works of installation art are large  Italian Arte Povera artists:
in scale. Their sizable statures enable
viewers to become completely o Mario Merz(1925-2003), 
immersed in each larger-than-life o Michelangelo
environment. In many cases, it even Pistoletto (b.1933), 
allows them to sit, stand, or walk o JannisKounellis (b.1936)
through it—a distinctive capability not o Gilberto Zorio (b.1944)
commonly found in more traditional
forms of art.  Rebecca Horn (b.1944)
 Site-specific Noted for her performance
Unlike sculptures, paintings, films, her kinetic installations, and her
and similar pieces, installations are Guggenheim retrospective which toured
usually planned with certain sites in Europe in 1994
mind, from rooms in galleries and
museums to outdoor spaces. Given the  Judy Chicago (b.1939)
strategic nature of their designs and the
uniqueness of their surroundings, site- Noted for her installation
specific works of art ensure a one-of-a- of feminist art - The Dinner
kind aesthetic and experience. Party (1979, Elizabeth A. Sackler
Center for Feminist Art, Brooklyn
Museum, New York)

PERFORMING ARTS
A type of art (music, dance, or drama) usually performed in
front of an audience. SabalanLulay - a wedding ritual wherein it begins with a man
dancing around a woman (his partner)
History of Performing Arts in the Philippines
Mountainous areas (Northern Luzon – Central Cordillera region)
(1) DANCE Muslim Influences
Apayao Courtship Dance - couple swing their arms in the air to
Langka-baluang - performed by male dancers as an angry similate a flying bird
monkey
Lowlands
Singkil - based upon a legend of the Maranao people of Binasuan – a spirited dance from Bayambang, dancers skillfully
Mindanao handle glasses filled with rice wine; usually perform at
birthdays and weddings
Pag-ipat - compulsion of the asal (traditional ancestry) which
binds particular families to hold it during illness of a family Maglalatik - a simulated-war dance, starts out with mock-
member fighting and ends with reconciliation

Spanish Influences (2) DRAMA

Pre-colonial Time
Carinosa - dancers "flirt" using a handkerchief or fan, by
playing hide and seek with them
  In the form of indigenous rituals, verbal jousts or games, or  By the 1950s, theatre had moved out of classrooms and the
songs and dances to praise gods. concept of paying for a ticket to see a theatrical performance
emerged.
 3 element - Myth, Mimesis, and Spectacle
 Playwrights such as Severino Montano, Wilfrido Ma.
 Mostly dramatized primitive rituals and epic poetry about Guerrero, and Alberto S. Florentino contributed to the
deities and mythical legends. It is said to happen when the development of performing arts in the Philippines.
spirit of the deities would seemingly possess a catalonan
(priest) or babaylan (priestess).  Through the years, Philippine theatre groups have staged
numerous plays in both English and Filipino, be it written by a
Spanish Influences Western or local playwright. Spanish culture and traditions
 A zarzuela is a form of musical theater that combines spoken largely influence performing arts in the Philippines, but the
word and song that celebrates various Catholic liturgical feasts. contemporary style is borrowed from the Americans.

 Moro-Moro is a secular comedy that dramatizes the war (3) MUSIC Indigenous
between Christians and Muslims through the forbidden love  From these documents, various kinds of interments made of
between the prince and the princess. The comedy is resolved bronze, bamboo, or wood are cited. These include gongs of
with the non-Christian being converted to Christianity, or various kinds of size and shapes, drums, flutes of different
through his or her death, immediately followed by his or her types, zithers, lutes, clappers, and buzzers.
resurrection.
 Vocal genres include epics relating genealogies and exploits
 The first Filipino comedia was performed in Latin and Spanish of heroes and gods; work songs related to planting, harvesting,
by Fr. Vicente Puche in Cebu in 1598. fishing; ritual songs to drive away evil spirits or to invoke
blessings from the good spirits; songs to celebrate festive
American Influence occasions particularly marriage, birth, victory at war, or the
 In 1898, the first bodabil was produced by the Manila Dramatic settling of tribal disputes; mourning songs for the dead;
Guild. courting songs; and children’s game songs.

 The bodabil or vaudeville is a theatrical performance with a mix

of songs, dances, comedy skits, and even magical Spanish - European Influences
performances.  The Hispanization during the succeeding three centuries after
1521 was tied up with religious conversion.
 In the 1930s, the country was introduced to Broadway theatre
or stage plays.  Produced a religious music connected to and outside the
Catholic liturgy and a European-inspired secular music
Japanese Influences adapted by the Filipinos and reflected in their folk songs and
 By the 1940s, when the Japanese took over the Philippines instrumental music.
from the Americans, movie actors and actresses could no
longer appear in films, as the Japanese confiscated all film  Another popular instrumental ensemble was the rondalla.
equipment. American Influences

 The bodabil evolved to become stage shows or variety shows  Music became a subject. Works of the graduates including the
with a short melodrama. first generation composers represent the classical art music
tradition.
 After the war, movies returned to popularity, and the bodabil
era slowly lost its luster. Sadly, the bodabil deteriorated decades  Semi-classical repertoire includes stylized folk songs, theater
later to become burlesque and strip shows held in cheap theatres music, and instrumental music. The sarswelatradition produced
around American military bases. a large bodyof music consisting of songs patterned after
opera arias of the day as well as short instrumental overtures
Post-colonial Time and interludes.
 After the Japanese occupation, the Philippine theatre has
evolved to become an amalgamation of the various influences  American lifestyle and pop culture gave rise to music created
(zarzuela, comedia, bodabil, and western classics). by Filipinos using western pop forms and is referred to as Pinoy
Pop.

BODY TATTOO

 Spanish ships first called the Philippines as La Isla De Los Pintados" which meant the
"Islands of the Painted Ones."

 tattoos were seen as a source of accomplishment and rank. Men bore ink on their chests
and heads as signs of their strength as warriors

 Cordillera Region, collectively known as "Cordillerans" or "Igorots" are popular for

Body Tattooing or “pagbabatuk”.

 In the northern part of the Philippines, hardened mountain men from the tribes
of Kalinga, Bontoc and Ifugao also practice tattoo rituals
  Several tribal groups customarily practiced headhunting, being one of the main reasons
behind tattooing. They believed tattoos possessed spiritual powers and magical qualities
which gave them strength and protection.

 Men can officially be named as a head hunter the moment he managed to make his first
kill acquiring “gulot” which is described as a banded stripe pattern

Meanings of the Patterns

Kaluwalhatian (sun)
 symbolizes the upper layer of the multi-layered universe
 Babaylan raised their hands in the direction of the sun whenever they asked for a deity’s
intervention

Kasakitan (snake)
a reference to the large serpent familiar of the Manobo goddess Dagau which is coiled
below the five pillars that support the world

Buwaya
as a psychopomp or a being responsible for transporting dead souls to their resting place
using a coffin like object on his back.

Bangut
depicting the crocodile jaw is asymbol that links these tattooed warrior to a Tagalog deity
called
Two methods of Pagbabatuk
1. attaching a sharpened object such as metal, a thorn, wood or a bone to one end
of a stick and was then either tapped or poked repeatedly into the skin to apply the
ink

2. Cutting or pricking the skin prior to rubbing black powder into the wound.